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CARIOCA’S IMAGINARIES

In the year of its 450 years, the city of Rio de Janeiro – and how it was thought and portrayed in films from different eras –is the theme of the show “Imaginários Cariocas: The Representation of Rio in the Cinema”. What would the city be today? How to form a picture of the various layers that comprise it – soil, horizon, paths, inhabitants, facades, entrails, spirit – and perceive their desired and unwanted changes? How to capture an elusive and changing identity? Based on these issues, the curators selected 53 cinematographic works that helped and help to build the Carioca imaginary throughout the 20th century to nowadays.

Young, Crazy and Rebels is a film that shows you want to look into the genre of cinema-young (or High School Film), building a diverse panorama, pop and exciting about the role and representation of youth today. The invention of youth as cultural value and behavioral identity is expressed in films that make up a panel that shows not only a gender and a social space, but one of the most symbolic universe pregnantes created in the second half of the last century. So we draw a selection that ranges from classic forerunners in addressing some of the “theme” to the popularization of teen comedies in the ’80s, going through radical experiments to investigate the place this sign today.

Cinema is a fantastic set of genres with everything that deals with what is supernatural, mysterious and spectral representation in the imagination through films and film within the language itself. Ghosts, monsters, suspensions of breath, shadows and fables mixed in this innovative and unique initiative that featured more than a hundred films, divided between an international competitive exhibition, an international panorama of long and short, a showcase for experimental flmes dealing with fantastic genres, and a very special tribute to José Mojica Marins. Aiming to become an annual event for film lovers fantastic (and fantastical status as cinema itself), the RIOFAN also created the trophy RioFan / Jose Mojica Marins will be awarded annually to the winners of different categories in the competition.

From a total of documentaries shown at least once in theaters, we tried to locate the most recurrent characteristics and among them, choose the most exciting and / or representing facets of documentary today in Brazil, always starting from the relationship alive between subject (the author of the documentary) and object (your theme / character). Came up this way to a panorama of 36 films, divided into six sessions, each one raising the most relevant questions from the Brazilian contemporary documentary production. Amid the recognition that the Brazilian documentary has received in recent years, little has been discussed the different ways in which its directors have used the limits of proximity and distance with their “characters” (a term that has become widely used in the documentary from Eduardo Coutinho, the most renowned Brazilian filmmaker format). This show tried to discuss some of the issues involved in connecting a camera and point it at someone, doing so through outstanding examples of recent national production.

With the proposal to renew and airing certain paths of cinephilia in the city of Rio de Janeiro, through a clipping crime genre films focused on those whose axis is the trick of the crime, the trick, the trick – blending classic narrative like The Big Bang ( Stanley Kubrick) as the rereading The Red Light Bandit. Above all, an invitation to watch the film (even more than just the movie cop) inside their codes crystallized and its revisions, is the parody is the fraying of its political and social senses.

More than just a collection of films, the show proposed to truly be a meeting to rediscover, re-targeting and re-paper criticizing the historical, aesthetic and social set of the film and sings young filmmakers (Glauber, Hirzmann, Jabor Nelson Pereira, Joaquim Pedro, among others) associated with the idea cinemanovista. Debates, lectures, a catalog-book and more than 30 films screened, provided a space for reflection, with an unprecedented range of titles displayed, essential to reformulate four decades later, the impact, legacies and myths around theme / concept / generation applicant in Brazilian audiovisual imagery.

A tribute to Mario Carneiro, who would be 77 years in July of the same year. Director of photography, director of a long (Fat and Slim) and several short, editor and writer, this French Brazilian by birth and by choice, was one of the greatest photographers in the history of Brazilian cinema, having photographed emblematic works of cinematography cinemavonista as the controversial Di Glauber Rocha (documentary that recorded the burial of Di Cavalcanti and had banned their display by the family of the painter) and classic Arraial Cable Paulo Cesar Saraceni (which was also co-director, camera and editor). The exhibition brought together some of his major films and promoted debates around his work and its role in the constitution of visuality of Brazilian cinema in the second half of the twentieth century.

A panel of Brazilian cinema trends outlined in Brazil between 1995 and 2005. Movies like Madame Sata, City of God, The Prisoner of the Iron; Cinema, Aspirin and Vultures, Lesser Town and Crime Delicado were presented followed by a cycle of debates by bringing together innovative directors, actors, critics and technicians who have excelled in the period – as Walter Salles, Mauro Pinheiro Jr, Marcelo Gomes, among others. Questioning forms of production and discuss the aesthetic and artistic ways of Brazilian cinema with an open look to the new, the risk and the dilemmas this diverse yet interwoven generation of films and filmmakers.

The most complete retrospective on the work already carried Sganzerla Rogerio, a tribute to the memory of this great name, this great artisan of this great militant cinema, died in January 2004. ‘s Masterpiece The Red Light Bandit and impacting his last work, The Sign of Chaos, through its partnership with legendary Julio Bressane and its phase Orson Welles, this was the first major retrospective exhibition in the city of Rio de Janeiro to look into the work of one of the most important names in Brazilian cinema and world, owner of a work he knew while influencing a generation and yet remain unique and inimitable.